
63S 



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PRICE TWENTY-FIVE CENTS 



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REGULAR GIRLS 

AN ENTERTAINMENT 


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1 


BY 

Maude Orita Wallace 


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Fitzgerald Publishing Corporation 

SUCCESSOR TO 
DICK & FITZGERALD 



J5$$$S$SSSSSS$$SSSS$SSSSSS8SSSSSS^cs«^^si^ 



PLAYS FOR FEMALE CHARACTERS ONLY 

15 CENTS EACH 

CRANFORD DAMES. 2 Scenes; IJ^ honra 

GERTRUDE MASON, M.D. 1 Act; 80 minuteg 

CHEERFUL. COMPANION. 1 Act; 25 minutes 

LESSON IN ELEGANCE. 1 Act; SOmmutes 

MAIDENS ALL FORLORN. 8 Acts; 1J4 houm 

MURDER WILL OUT. 1 Act; 80 minutes 

ROMANCE OF PHYLLIS. 8 Acts; labours 

SOCIAL ASPIRATIONS. 1 Act; 45 minutes ,.. 

OUTWITTED. 1 Act; 20 minutes 

WHITE DOVE OF ONEIDA. 8 Acts; 45 minutes 

SWEET FAMILY. 1 Act; Ihour 

BELLES OF BLACKVILLE. 1 Act; 2 hours M 

PRINCESS KIKU. (85 cents) 1 

RAINBOW KIMONA. (85 cents.) 2 Acts; 1^ hours 

MERRY OLD MAIDS. (!25 cents.) Motion Song; 1 

PLAYS FOR MALE CHARACTERS ONLY 

J5 CENTS EACH 

APRIL FOOLS. lAct; SOmlnutes 

BYRD AND HURD. 1 Act; 40minutes 

DARKEY WOOD DEALER. 1 Act; 20 minntes 

WANTED, A, MAHATMA. 1 Act; 80 minutes 

HOLY TERROR. 1 Act; 80 minutes 

MANAGER'S TRIALS. 1 Act; 1 hour 

MEDICA. lAct; 85 minutes 

NIGGER NIGHT SCHOOL. lAct; 80 minutes 

SLIM JIM AND THE HOODOO. lAct; 80 minutes 

WANTED. A CONFIDENTIAL CLERK. 1 Act; 80 minutes 

SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 

PICKLES AND TICKLES. 1 Act; 20 minutes I 

HARVEST STORM. 1 Act; 40 minutes 10 

CASE OF HERR BAR ROOMSKI. Mock Trial; 2hour8.... 28 
DARKEY BREACH OF PROMISE CASE. Mock Trial. 22 

GREAT LIBEL CASE. Mock Trial; 1 Scene; 2 hours 21 

RIDING THE GOAT. Burlesque Initiation; 1 Scene; 1^ hours 24 



FITZGERALD PUBLISHING CORP'N, 18 Vesey St., N. Y. 



REGULAR GIRLS 



AN ENTERTAINMENT 
FOR GIRLS 



By 
MAUDE ORITA WALLACE 



Copyright, 1918, by 
FITZGERALD PUBLISHING CORPORATION 



^ 



FITZGERALD PUBLISHING CORPORATION 

Successor to 
DICK & FITZGERALD 

18 Vesey Street New York 









DEC -7 1918 

^'^'■D 508 J a TMP92-007561 

'WO I 



REGULAR GIRLS 



CHARACTERS 

Sue Minton A Candy Patriot 

Diana — Di for short 

Whose chief object in life is to he a prima donna 

JiMPSY Just a lovable little girl 

Jean "1 

p. 1^ Some of the ''Bunch" 

Merry J 

Band Girls 

Japanese Girls As many as may be desired 

Hawaiian Girls J> for chorus tvork or 

Sailor Boys (Girls) special numbers 

Military Girls J 

Time. — Today. Locality. — Glenbrook-on-the-Hudson. 

Time of Representation. — About one hour; may be 

shortened or lengthened according to specialties used. 

COSTUMES 



The speaking characters may wear the ever-popular 
skirt and middy-blouse. 

The Band wears either Khaki suits or Scout suits, as 
they may desire. If there is any objection to the girls 
wearing scout costumes, it would be very well to use the 
coats and hats, and wear either bloomers or short Khaki 
skirts, with leggings. Fake band instruments are used ; 
with these, one simply hums through the mouthpiece. 
The effect is quite humorous, especially if there is a local 
band which it is wished to ''take off." 

3 



4 Regular Girls 

The Military Maids use the same costumes as the Band 
Girls, in fact, they are merely impersonating Uncle 
Sam's Soldiers and Sailors. 

The Sailor Boys (Girls) may wear the long white sailor 
trousers and middy-blouses, black ties and either tams 
or the small round hats worn by sailors. 

The Japanese Girls wear regular Japanese kimonas, 
carry fans or else use parasols, and give a drill. They 
must not forget the short mincing steps of the Japanese. 

The Hawaiians wear dresses made from raffia grass, 
an under garment of brown cambric is used as a foun- 
dation; the grass sewed on at the top yoke, and falls 
full to the knees ; brown hose ; a wreath of orange-colored 
paper is worn over one shoulder and under other arm. 
A headband of gilt paper or ribbon around head. Raf- 
fia grass should be easih^ obtainable in novelty stores. 
If unobtainable, straw-colored crepe paper could be cut 
in stripes and used instead. 



PROPERTIES 

Fake instruments for Band Girls. Long rope for 
Sailor Girls. Japanese fans for Japanese Girls. Ukule- 
les for Hawaiian Girls. Music sheet for Diana. 

Note. — The songs and music mentioned in text are 
merely suggestions, and substitutions may always be 
made. Any ''set" of girls may be omitted, their parts, 
of course, simply being also omitted. 



REGULAR GIRLS 



Scene. — TJie Girls* living-room just off fhe College Cam- 
pus. Time, early evening. A door either at rigJit 
or left. . The room is decorated with pennants, flags 
of the Allied nations, sofa-pillows, tables, chairs, a 
sofa, etc., as may he available. Books and a box con^ 
taining a few pieces of candy is on the table. DIS- 
COVERED : Sue sitting at table attempting to 
study. Diana is perched on sofa with sheet music 
in her hand and is trilling and humming away at a 
song which she is trying to learn for the ^^ Recital." 

Sue (taking a piece of candy from box, looks at it 
longingly before taking a bite, finally, with a sigh, turn- 
ing to Diana and holding up the small remaining bite). 
Di, stop a minute or else you will spoil all my good in- 
tentions. 

Di. Why Sue, you know I just have to practice this 
song for the recital next week, and I don't half know it 
yet. Anyway, I thought you were so deep in French, or 
else writing in your diary, that you were oblivious of 
my very existence. 

Sue. I can't get my mind on French or anything 
else, until I've settled this candy business. Di, (Very 
dramatically ) this is the last piece of candy I expect to 
eat until the war is over ! 

Di. (looking at her with admiration). Well, Sue, 
Hurrah for our ''Candy Patriot." But just think, girl, 
w^hen you go sweetless to bed every night that you Avill 
not only be helping ''Uncle Sam" and the boys, but you 
Avill be improving your complexion too. And tiien, too 
much candy certainly does play havoc with your diges- 
tion, and that spoils your voice. Now listen to me, I've 

not tasted candy for six whole weeks and ("Di. starts 

to sing but is interrupted by Sue j 

5 



6 Regular Girls 

Sue (getting up and shaking hands at Di., urging 
he)' to stop). Oh Di., please, please, spare me your 
bird-like warblings ! Your healthful philosophy may be 
a very comfortable sort, Di., but all the songs in the 
world don't take the place of one delicious piece of 
chocolate. But Di., I just had to do something for 
Uncle Sam; something that really hurts you know; for 
when I think of Ned way ''Over There," fighting like 
a real man, a brave soldier, and me just here enjoying 
life, I feel too mean for any use. So I 've been thinking 
what I could give up that would hurt a whole heap you 
know — and I decided that I would sacrifice candy. Now 
don't laugh, Di. — I know it sounds dreadfully silly to 
you, but you know I just love candy better than almost 
anything. Why, I am just miserable without it, but Di. 
(Very dramatically ) it is just glorious to he miserable, 
sometimes. 



ENTER JiMPSY. 

JiMPSY. Who's miserable, I'd like to know? I think 
you had better go and hunt for the ''trimplet. " 

Di. Oh, no one is exactly miserable, but Sue has just 
placed her last piece of candy on the altar of ''Patriot- 
ism," and says she doesn't even expect to taste another 
bit till "Kaiser Bill hands his crown to Uncle Sam." 

JiMPSY. Well, here's hoping she gets a ten-pound 
box to-morrow. ("Di. begins singing again, while Jimpsy 
hugs SuE^ 

ENTER Jean, Elsie, Jerry and Merry. 

Jean. What 's all this hilarity about I 'd like to know ? 

Jimpsy. We are just celebrating Sue's supreme sac- 
rifice of eating fudge. That's her contribution to Uncle 
Sam's "AVar Fund." 

All. Three Cheers for Uncle Sam, and three cheers 
for Sue. 



Regular Girls 7 

Jerry. That's a mighty fine example, Sue, for some 
of the rest of us girls to follow ; but listen, girls. (Stop 
and listen) I believe we are going to have a serenade. 

Note. — Band is heard outside, playing some popular 
war song. When the piece is finished the girls on stage 
applaud ; then they hear a great big rollicking laugh off 
stage, which reveals the band to be the girls dressed up 
in the boy scout suits, with the fake instruments. Sue 
steps to door and opens it. 

Sue (speaking off stage). Well, girls, your camouflage 
is fine ; but now that you are discovered, come on in and 
give us a concert. 

Jean, Jerry, Merry and Di. Yes, do, come in. 

ENTER the Band. 

Note. — The ^'Band*' marches in, leaving the door 
open. The leadei* in front, carrying his baton. They 
march around, and take position across the front of 
stage, and "play" several selections. The leader can 
make quite an effective "hit" by playing a solo on one 
of the instruments, either cornet or trombone. Some- 
thing old and familiar. ' ' The Last Rose of Summer, ' ' or 
"When You and I Were Young, Maggie," are greatly 
appreciated by the average audience. This band is a 
real novelty and hit. It is effective to have a tall girl 
for leader, and a very small one carry the large bass 
drum. If there happens to be a high school band or 
a local band in the town, an effective "take off" always 
scores a winning point. Two selections and a solo are 
enough for their part. The other girls applaud, and 
when the band finishes, they remain on the stage, but 
take places at the rear. 

Merry (going to door). Oh, girls, look, here come the 
cadets, f All look toward door) 
Jean. Yes, cadets, all right, but look again. 



8 Regular Girls 

JiMPSY. Oh, girls, we know you all right, but come on 
and join in the fun. 

ENTER Company '^u." 

Consisting of eight girls, and a Captain, all in uniform. 
They enter single file, some v/alking pigeon-toed, some 
limping, and anything but in time or in step. They face 
front and march eight abreast to the front of stage, and 
the Captain gives orders. 

Captain. Attention for Roll-Call. (Calls names of 
the well-known JiigJi school hoys. TJie last named boy is 
asleep, and has to he nudged hy his neighbor. At last 
he answers — '^Pm coining'') 

2. Present Arms. (Girls hold arms out straight in 
front of them) 

3. Carry Arms. (Both arms are placed on right 
shoulder) 

4. Right Dress. (Turn to right and see if shoes or 
coat is all right) 

5. Left Dress. (Turn to left, and arrange clothing) 

6. At rest. (Each two girls lean on each other for 
support) 

7. Fall Out. (Come way forivard on right foot, al- 
most down to the g^^ound) 

8. Retreat. (^All twn and scramble off the stage) 

Note.— After this farcical stunt, they RE-ENTER 
and introduce a well-given patriotic drill. If light 
wooden guns can be procured, the effect will be en- 
hanced. A good march, played by the band, will help 
them get the time, and really show what they can do. 
Any number of pretty marching figures may be used, 
or a regular military drill. When the march is finished 
they make a straight line across the front of the stage, 
the Captain sings a solo, the soldiers joining in the 
chorus. "Hurrah for the Liberty Boys" is a good song: 
for this particular drill. When they finish, they, too, 
take their place in the rear of the stage ; they may either 
sit or stand picturesquely grouped. 



Regular Girls g 

JiMPSEY. Say, I hear someone knocking. I'll go see 
If the chaperon is getting nervous over our celebration. 
(hoes to door and opens it) 

Japanese Girl (at door). Say, girls, we have just 
put on costumes for the song we are going to give at 
the Glee Club program. Would you like to hear it ? 

All. Sure; come on. 

ENTER eiglit Japanese Girls, si7iging ''The Japanese 
Love Song" or any other appropriate song. 

Note.— After singing, they take places on stage. Some 
one suggests that they all sing. The entire Club then 
sings 'Honey-Town." They may sing as many as they 
wish, according to material. 

Elsie. I think Diana ought to give us a solo ; girls, 
what do you think? 

Merry. Yes, and if she doesn 't, I '11 tell her dad when 
we get home, that he is spending his perfectly good 
money all for nothing. 

All. a song, Di., a song. 

Di. Girls, this is the result of having your chum go 
to college with you; they act as a sort of ''Sherlock 
Holmes" you know, and— well— I guess I'll have to* 
submit to the inevitable ; what shall it be ? 

Merry. Anything you wish, Di., dear. 

^ Note.— Di. sings ''A Wild Irish Rose." It is effec- 
tive to have a quartette sing the chorus. 

Sailor Girls (ojf stage). Ship ahoy! Ship ahoy! 
JiMPSY. Hurray, hurray. 

ENTER four or eight Sailors. 

Note. — The sailors come running in carrying a long 
rope, each one holding on to it. They make a line across 
the front of stage and sing their '^ Sailor Song," "The 
Sailor Lad," "Sailing," "Nancy Lee," or any other 
nautical song. After song they retire to rear of stage 
with the other girls. 



10 Regular Girls 

]S^OTE.— The twanging of ukuleles is heard off stage. 
All girls stop and listen. 

Sue. Oh, the girls are practising their Ha\yaiian 
stunt for the Glee Club program. Let's call them in. 

All. Good, let's do. ("Sue nm.9 to door) 

Sue (calling off). Girls, come in and give us a treat, 
won 't you ? 

Hawaiians (off stage). All right. 

ENTER Hawaiian Girls. 

Note. — The Hawaiians are the most pleasing number 
on the program. The songs are all Hawaiian, and the 
ukuleles are rather novel and easy to play. Suggestive 
Hawaiian songs are: — "Hawaiian Butterfly," ''One, 
Two, Three, Four," ''Drowsy Waters," "Yaka Hula, 
Hicka Dula," "My Oavu lona," "Alohoe." In the Ha- 
w^aiian dance, the dancer is never still, always use the 
easy graceful swing. Some songs are rendered as an 
entire chorus; another as a duet, another as solo and 
chorus, just as one wishes. All sing the last one, "Alo- 
hoe" in parts, and dance slowly towards the rear of the 
stage as they finish it. As many singers may be in this 
number as play ukuleles or as are desired. 

JiMPSY. Girls, let's sing our "Carmena Waltz" song, 
I just love that. 

('^Carmena Waltz" or ^'Beautiful Blue Danube 

Waltzes") 

Jean (after song is finislied). Girls, of all the songs 
we sing, I like "No Thank You, Tom" the best. 

Jerry. Well, Jean, I think you must be getting a lit- 
tle sentimental, aren't you? 

Jean. I don't care, 1 like it all the same. 

Sue. All right, Jean, we'll sing it to please you. 

Note. — "No Thank You, Tom" is a ballad song with 
three verses, each telling part of the song story. When 



Regular Girls ii 

given with a tableau for each verse, it is particularly 
beautiful and attractive. The singers may divide to 
either side of the stage, leaving the middle free, for the 
play of the spot light. Two small children, a boy and 
girl, about 8 and 9 respectively, may pose for the first 
verse. He may offer her a top and she accepts it, at 
same time shaking her head, as if saying *'No thank you, 
Tom.'' 

2nd Verse. — A high school boy and girl may pose. 
Girl may wear some light summery costume, carry para- 
sol, and boy may wear palm beach suit, panama hat. She 
may wear roses, and hat, too, if desired. She acts co- 
quettish, but finally puts her hand in his, while suppos- 
ing to say — ''No thank you, Tom." 

3rd Verse. — Old woman may be seated, knitting ; man 
may be either standing or sitting, with glasses, and 
reading ; looking happy and contented. The curtain may 
slowly go down on this last pleasing picture. 

Note. — If preferred, the last number used may be 
changed to a medley of patriotic songs, the national 
songs of the different Allied nations would be very effec- 
tive, and have the Flag of the Nation unfurled, as the 
Nation's song is being sung. A good order for them to 
be given would be — 

British— ''God Save the King." (Unfurl British 
Flag.) 

Italy—' ' Italian Hymn. ' ' (Unfurl Italian Flag. ) 
French — " Marsellaise. " (Unfurl French Flag.) 
Scotch—' ' Loch Lomond. ' ' ( Unfurl Scotch Flag. ) 
U. S. A.— "Star Spangled Banner." (Unfurl U. S. 
A. Flag.) 

Let it be in front of the others. This makes a good 
climax, if a patriotic climax is desired. 

Curtain. 



MILITARY PLAYS 

25 CENTS EACH 

BY THE E:N"EMY'S HAND. 4 Acts; 2 hours 10* 4 

EDWARDS, THE SPY. 5 Acts; 2}^ hours 10 4 

PRISONEU OP ANDERSONVIL.L.E. 4 Acts; 2J4 hours. 10 4 

CAPTAIN DICK. 3 Acts; li^ hours 9 6 

ISABEL, THE PEARL. OF CUBA. 4 Acts; 2 hours 9 8 

LITTLE SAVAGE. 8 Acts; 2 hours; 1 Stage Setting 4 4 

BY FORCE OF IMPULSE. (15 cents.) 6 Acts; 2i^ hours 9 8 

BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 8 



RURAL PLAYS 

25 CENTS EACH 

MAN FROM MAINE. 5 Acts; 2>4 hours 9 

AMONG THE BERKSHIRES. 3 Acts; 2^ hours 8 

OAK FARM. 3 Acts; 21^ hours; 1 Stage Setting 7 

GREAT AVINTERSON MINE. 3Acts;2hours 6 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2i^ hours 5 

WHEN A MAN'S SINGLE. 3Acts;2hour8 4 

FROM PUNKIN RIDGE. (15 cents.) 1 Act; 1 hour... 6 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 



ENTERTAINMENTS 

25 CENTS EACH 

AUNT DINAH'S QUILTING PARTY. 1 Scene 5 11 

BACHELOR MAIDS' REUNION. 1 Scene 2 80 

IN THE FERRY HOUSE. 1 Scene; IJ^ hours 19 15 

JAPANESE WEDDING. 1 Scene; 1 hour 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 

OLD PLANTATION NIGHT. 1 Scene; I14 hours 4 4 

YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JOLLY BACHELORS. Motion Song or Recitation 11 

CHRISTMAS MEDLEY. 30 minutes 15 14 

EASTER TIDINGS. 20 minutes 8 

BUNCH OF ROSES. (16 cents.) 1 Act; 1>^ hours 1 13 

OVER THE GARDEN WALL. (15 cents) 11 8 



FITZGERALD PUBLISHING CORPORATION 

SUCCESSOR TO 
DICK 8t FITZGERALD, 18 Vescy Street, N. Y. 




COMEDIES AND 015 793 109 a 

25 CENTS EACH 

BREAKING HIS BONDS. 4Act8;2hour8 « S 

BUTTEllNUT'S BlllDE. 3 Acts; 2^^ hours 11 6 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 S 

COUNT OP NO ACCOUNT. 3 Acts; 2^1^ hours 9 4 

DEACON. 5 Acts; 21^ hours 8 6 

DELEGATES FROM DEN'VEIl. 2 Acts; 45 minutes S 10 

DOCTOR BY COURTESY. 3Acts;2hours 6 6 

EASTSIDE RS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 

ESCAPED EROM THE LAW. 5 Acts; 2 hourg 7 4 

GIRL FROM PORTO RICO. 3 Acts; 2}^ hours 6 S 

GYPSY QUEEN. 4 Acts; 2)4 hours 5 I 

IN THE ABSENCE OF SUSAN. 3 Acts; IJ^ hours 4 6 

JAILBIRD. 5 Acts; 21^ hours 6 t 

JOSIAH'S COURTSHIP. 4Acts;2hours 7 4 

MY LADY DARRELL. 4 Acts; 2J^ hours 9 6 

MY UNCLE FROM INDIA. 4 Acts; 2i^ hours 13 4 

NEXT DOOR. 3 Acts; 2 hours 5 4 

PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 

REGULAR FLIRT. 3 Acts; 2 hours 4 4 

ROGUE'S LUCK. 3Act8;2hours 5 3 

SQUIRE'S STRATAGEM. 5 Acts; 2}^ hours 6 4 

STEEL KING. 4 Acts; 2>^ hours 5 3 

WHAT'S NEXT ? 3 Acts; 2}4 hours 7 4 

WHITE LIE. 4Act8; 2)^ hours 4 8 

WESTERN PLAYS 

25 CENTS EACH 

ROCKY FORD. 4Acts;2hour8 8 3 

GOLDEN GULCH. 3 Acts; 2^4 hours 11 3 

RED ROSETTE. 3 Acts; 2 hours 6 3 

MISS MOSHER OF COLORADO. 4 Acts; 2^ hours ... 5 3 

STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 4 

CRA^VFORD'S CLAIM. (15 cents.) 3 Acts: 214 hours. 9 3 

FITZGERALD PUBLISHING CORPORATION ^ 

SUCCESSOR TO « 

DICK 8s FITZGERALD, 18 Vesey Street, N.Y. ^ 





LIBRARY OF CONGRESS 

llilliiillliliililiilliil . 

015 793 109 A * 



HoUinger Corp. 
pH 8.5 



